Sistema Regional de Información
en línea para Revistas Científicas de América Latina,
el Caribe, España y Portugal

The purpose of this paper is to highlight the moral nature of the reporter’s work in order to improve the quality of the story when covering events that involve some kind of grief and sorrow for the victims. e solution starts from the interpretive values that are required from the reporter, marked by the need to understand the reasons preceding human and natural actions, which are nally subject to the greatest media attention, particularly in such painful acts. Among these values, we highlight the respect that allows reporters to access a better self-awareness before others who, like him, can be the object of distressing information, the solidarity that makes it possible to share with the information given, the feelings and frustrations, and the trust that the complex informative situation will be treated with the greatest care and discretion. Ultimately, the journalistic coverage in situations of grief provides a variation or transformation of the news regarding the quality of the handling of grief, because, although victims are always the object of greater informative interest, quality is not always achieved in the most appropriate terms according to their own vulnerability. us, the quality of the journalistic information will be presented as a transformation of the informative related to the search, elaboration and dissemination of stories of grief and death, linked in the process by the very action of what the reporter does and the notion of added value about what is being reported. 

This paper analyzes the audience created by cyber media and compares it to the actual profile of reader 2.0. After comparing the data obtained through two research phases (content analysis and quasi-experimental design) in the digital versions of 20 Minutos, ABC, El Confidencial, El Mundo, El País, El Periódico, La Información, La Vanguardia, La Voz de Galicia, Libertad Digital, La Razón, Público and e Huffington Post, we examine the audience’s profile and the communication flows between the media, the recipients and the community. Results show a discursive representation of the audience by the cyber media as participative, deliberative, and as clients and members of a fragmented community. However, in practice, the reader is commercialized. It also confirms the lack of communication between the media and its audience due to the absence of a common code, and a promising way of communication between the receiver and the community emerges, with the possible elaboration of counterhegemonic discourses. 

This paper looks at the concept of cultural proximity, as suggested by Joseph Straubhaar in his 1991 paper Beyond Media Imperialism: Assymmetrical [sic] Interdependence and Cultural Proximity. It argues that, based on a polysystem study of film noir adaptations from the early 1990s, both cultural proximity and distance may either enhance or inhibit the cross-cultural or cross-generic flow of media content depending on some specific conditioners such as the stability or instability (e.g., success or lack thereof) of the target genre or context and the conservative or innovating function of the adaptations in their target context.doi: 10.5294/pacla.2017.20.3.3

The purpose of this paper is to examine the scope of the metaphors to reflect on the essence of the contemporary city, in light of the philosophical proposals of Hans Blumenberg, Jean-Luc Nancy and Georg Simmel. e starting point of this reflection is recognizing that the contemporary city can hardly be thought of as just one more phenomenon of the world, one object among others, as it has long since become the “world of life,” where most human beings develop virtually all of their existence. By not being available as a theoretically objectivable reality, the essence of the world of big city life can hardly be trapped in the univocal nature of the concept. However, the article defends the idea that, when concepts are not enough, metaphors help us to establish connections with what would otherwise remain obscure. 

In March 2016, the trailer for Paul Feig’s Ghostbusters reboot debuted online and suffered the unfortunate accolade of being the most disliked trailer in YouTube history. Popular news media, including professional, pro-am, and amateur commentators, picked up on the resulting online kerfuffle as clear indication that there is something rotten in the state of fandom. Feig himself frequently turned to the echo chamber of social media to denounce fans as “some of the biggest arseholes I’ve ever met in my life”. Addressing fans that singled out the reboot as “ruining my childhood,” Feig poured fuel on the fire by criticising such a perspective as merely the product of “some whacked-out teenager,” overdramatic, pathological and, perhaps more pointedly, “toxic”. In so doing, Feig—and, by extension, the cast of the Ghostbusters reboot—replicated and re-activated traditional stereotypes of the fanboy—living in his mother’s basement and obsessing over trivial entertainment.This article takes the claims of “childhood ruination” seriously to examine what is at stake for fans of the original Ghostbusters film. Despite the organs of online media heavily criticising fanboys as misogynistic relics and sexist heathens, often in aggressive ways, I argue that fans’ affective, nostalgic attachment to the first Ghostbusters film—the “primary cinematic text” (Bernard, 2014)—forms a crucial component of fans’ “self-narratives” (Hills, 2012) and “trajectories of the self ”. By drawing on empirical work on “nostalgic narratives” conducted in the psychology field, I argue that it is not simply toxicity that drives these fans to defend the fan-object from being colonised by an invading text, but, rather, what I am terming as totemic nostalgia, a form of protectionism centred on an affective relationship with a text, usually forged in early childhood. Threats to the Ghostbusters totemic object, then, “can thus be felt as threats to these fans’ self-narratives” (Hills, 2012, p. 114).

Representation of autism in mass media has retained stereotypes that paraphrase medical discourse over time. This paper aims to investigate about the existence of alternate representations in affinity spaces like fanfiction. net. For this purpose, we conducted a mixed composite study of a quantitative analysis of 197 fanfictions found in the platform in November 2016 under the tag autism, in which reading popularity indicators such as subscribers, bookmarks and number of comments were measured. We then conducted a qualitative analysis of the most relevant text according to popularity and content. This analysis focused on the fanfiction Different, Not Defective, from the Harry Potter fandom, and the analysis of the 863 comments. Results show that digital platforms can function as inclusive spaces where therapists, family members and individuals within the autistic spectrum incorporate alternative forms of representation. The conclusions indicate that these spaces have a great potential to negotiate the meaning of autism, which could extend to other disabilities. One of the contributions of this study is that it provides a methodology for studying other fandom or other disabilities. We suggest continuing to explore how fan fiction on the internet can contribute to the creation of emerging meanings about groups that are inadequately represented.

It has long become evident that fandom activity is a complex reality, but also the object of colonization and co-optation by the cultural industry, in a dynamic where fans themselves are co-creators. It is evident in the policies of transmedia franchising and in contemporary cult television textuality, but which may be found in different ways throughout the history of fandom and since its origin. This, at the very least, is true in the case of fandom related to science fiction, which represents an undoubtedly particular case: just think of the number of fans who, since the 1940s, have become professionals, such as writers, critics, researchers and even editors. The very birth of an organized science fiction fandom is due, at least in part, to the promotional activity conducted by the cultural industry “from above.” More specifically, our paper analyzes, through the study of literature and archive research, the active role of Hugo Gernsback (editor of Amazing Stories, the first SF journal in the world) in the origin of science fiction fandom in the United States: In order to make the new genre known and promote the journal, not only did Gernsback favor the creation of passionate groups, publishing the readers’ addresses and divulging news and information about meetings and clubs, he also founded a Science Fiction League, with offices in numerous US cities and even in England.

Reseña del libro "Volver a los clásicos"doi: 10.5294/pacla.2017.20.2.11